[snip] What would you suggest I set up for a press test as far as image and colors? Do I just run rows of color bars? [snip]Do I need to make separate profiles for each one or find a happy medium for the Komori's and let the others fall where they may? Gordo, thats interesting how there are two different ways two approach this. I guess I need to determine what my managers position is. I think he would lean toward to us calibrating our proofs and letting the presses match us as apposed to us matching uncalibrated or linear press sheets. Is that what you mean?
The basic process goes something like this:
1) Identify the target internal standard or industry specification. (BTW I agree with your manager - Strategy One, also I would start with the ISO spec)
2) Get consensus from stakeholders (prepress, pressroom, management)
3) Determine who's going to be the lead implementer (i.e. internal resource or outside consultant will be used)
4) Open a docket. The process will consume company resources which need to be accounted for. Also the project will need to be treated seriously and given the proper time and involvement. Dockets help to ensure that happens.
5) Contact your ink vendor to determine if your current inks can achieve your target. If not, identify an ink series that has proven capable.
6) Contact your proof/workflow vendor to determine how to set up your proofer to output proofs that align to the industry spec (again strategy one)
7) Find a paper for your press that aligns to the brightness defined in the spec. Try to find one that has a similar UV optical brightness content to your proofing media. You can use a $10 black light to do a qualitative comparison. Make sure the bulb is fluorescent not incandescent.
Below pic shows on the left the proofing paper under white light and on the right under UV light. If there is a big difference with your press/proofer paper you will have problems. BTW, I used this vendor's proofing media swatchbook only because I had one. I am not endorsing their product.
8) Test the press. This involves running a test form, preferably without images or proof, to determine the mechanical/chemical soundness of the press. If the press not stable that will need fixing first.
8a) Confirm that your CtP device output is consistent.
8b) Confirm that instruments used in prepress and pressroom are in proper working condition, calibrated, set to the same standard, and agree with one another.
9) Assuming that #8 was a success (with your inks and papers) and that you were able to hit the CIEL*a*b* values at the appropriate solid ink densities - then build plate curves to align the tone response of your press to your proof.
10) Go on press to confirm alignment. For this form you can add subjective reference images to your objective measurable targets.
11) Assuming that #10 was a success. Catalog and document plates, proofs, and presswork. This will become your "golden reference." If anything goes wrong in future production, you would run this golden reference to determine what has changed.
12) You may, optionally, characterize your presswork and use the resulting profile to fine tune your proof to your press that is now conforming to the industry spec.
13) Ask for a raise
best, gordo
my print blog here:
Quality In Print
